September 24, 2019

Event date: –

Lauren Weinstein is a cartoonist and artist whose work has appeared in The New Yorker, The New York Times, Bookforum, Nautilus, and The Guardian, among many other outlets. Her acclaimed comic Normel Person was the last weekly comic strip to run in The Village Voice. This year, Weinstein’s Being an Artist and a Mother won a Slate Cartoonist Studio Prize, and was published in Best American Comics 2019. Her most recent novella, Mother’s Walk, was selected for the latest issue of Frontier. Weinstein is also the author of three books: Inside Vineyland (Alternative Comics, 2003), the teenage memoir Girl Stories (Henry Holt and Co., 2006), and Goddess of War (Picturebox, 2008). She has received two Ignatz Awards among other nominations. In 2015, Weinstein was awarded the Gold Medal from The Society of Illustrators for Carriers, her five-part webcomic about cystic fibrosis that was first published in Nautilus. Weinstein earned her Bachelor of Fine Arts in Painting from Washington University in St. Louis.

For more information:

• Interview at The Believer Logger with Tahneer Oksman (January 2019): “Like much of her work, the book [Girl Stories] pushes boundaries, between humor and absurdity, between autobiography and cultural and political commentary.”
• Review of Mother’s Walk by Alex Hoffman on Sequential State (October 2018): “There’s a complexity to the way in which the pages read; the entire book has the sensibility of a winding country road.”
• Review of Mother’s Walk by Chris Mautner on The Comics Journal (November 2018): “Anyone who has been following her work since the release of Inside Vineyland in 2003 should know that her self-deprecating, wry sense of humor would simply not allow for the sort of greeting card saccharine that greets us in, say, Rose is Rose.”
• Review of Mother’s Walk by Ryan C. on Four Color Apocalypse (November 2018): “Fortunately for us all, though, Lauren’s visual hymn to her daughter is hardly a love letter overflowing with cloying sentimentalism for its own sake, but instead  a non-linear, even elliptical, rumination on the days (hell, moments) before a new life enters the world, and the “ripple effect” such a momentous occasion — to say nothing of such a momentous, limitless, freshly-birthed human being — has on everyone touched by it; by them.”